Two FBI agents attempt to clarify the murders occurring in a desolate region. They approach the witnesses of the latest incident with the help of the local police. All of them hide something and all have wildly different stories to tell.
Bob, a cab-driving serial killer who stalks his prey on the city streets alongside his reluctant protégé Tim, who must make a life or death choice between following in Bob's footsteps or breaking free from his captor.
Cinema's prodigal daughter Jennifer Lynch braves the unmapped territory of Bollywood-Hollywood movie making, where chaos is the process and filmmaking doubles as a crash course in acceptance and self-realization.
Detective Michael Tabb knows the city he protects inside and out. He has felt its true heart, as much as its dark underbelly: but he does not know who, in both the dark and light - is taking the lives of young girls.
Everything changes when four Latina sisters living in different parts of the world receive a phone call from their youngest sister to come home for their dying mother, whose passing ends up bringing them back together.
Desperate brain cancer-ridden Caucasian, George States, with only six months to live, decides to capture a male cobra with hopes of obtaining 'Nagmani' from the shape shifting Naga female. For reasons that remain obscure throughout the film this will not only cure his brain cancer but also make him immortal. He hires workers in the jungles of Natchi, Tamil Nadu, who witness the intimacy of the cobras, capture the male allowing the female to escape. George then holds the male cobra in a glass cage hoping that the female cobra will attempt a rescue, and he will then release it in exchange for the Nagamani. The region experiences horror and religious awakening after the enraged female cobra, with the image of its oppressor in its eyes, sheds its snake-skin and takes on a female human form, setting out on its deadly mission of tracking down and destroying her mate's oppressor, and whoever else gets in her way whether involved or not. Written by
Production in India was temporarily delayed due to a strike by the Federation of Western India Cine Employees that was staged by more than 100,000 Indian film industry workers in Mumbai protesting low wages, late payments and the employment of nonunion members in Bollywood. See more »
The curse of the fertility goddess, Nagin, states that anytime man desecrates or violates the cobra, they are doomed to suffer the petrifying curse of the snake woman, involving death and infertility. Respect is the only cure. Over 4000 years ago the inhabitants of the Indus Valley in the Far East sculpted the image of the shape-shifting, half-human, half-cobra creatures residing in mysterious temples deep within the legendary spice forests off the Malabar Coast. George States (Jeff Doucette) isn't afraid of the legend, and journeys into the jungle to snag the mate of the Nagin, hoping the goddess will take human form, chase after him, and grant him immortality. Thanks to stage 3 brain cancer, he's delusional, homicidal, and makes as little sense as the movie does trying to explain the premise.
George is successful in capturing the male cobra and returns to his stone lab where he waits for Nagin to appear. The goddess, played by Mallika Sherawat, takes many scenes to transform from snake into human, writhing in mud, sloughing off handfuls of gooey scales, tearing through molting net-like skin, and revealing human flesh. The makeup effects aren't entirely pathetic, demonstrating a similarity to the more impressive works in Species. It's the computer graphics later on, showing the transformation back into reptile that is particularly ridiculous. The reasons and methods for the mutations are never explained, nor are the various stages of snake/human hybrid metamorphosis. Sometimes Nagin will be completely human, or a small rubber snake, or monstrous cobra, or a woman with fangs and yellow eyes, or even a Gorgon-like mix, with snake body and human arms and head. The combination constantly changes and remains completely undefined.
In the nearby village, the festival of colors, known as Holi, is being joyously celebrated, while a local detective (Irrfan Khan) and his wife (Divya Dutta) try unsuccessfully to have a child. The festival is an easy opportunity to throw in the standard song and dance sequences expected from a Bollywood production. When Nagin appears to dance with the natives, two drunken men kidnap her. She acts like a child unfamiliar with her surroundings, more naive than Mowgli, and never utters a word (throughout the entire film, in fact). The ensuing attempted assault results in both men being mutilated and eaten, derivative of the more memorable scenes in Anaconda. She continues to seek out her lover (an incredibly fake snake held in a glass case, periodically electrocuted for fun by States), murder various offenders and abusive men she stumbles across, and hunt down the participants in the original expedition that ended in the male cobra's capture. Meanwhile, the detective tries to solve the string of killings, noticing that each body contains an excessive amount of venom.
"This is some weird sh_t," exclaims the morgue doctor as he performs an autopsy on a mangled body, so horribly disfigured that a cell phone must be cut out of the middle of the mess. His blurb sums up Hisss, a movie that is purposely weird and terribly dull, full of brutal violence for the sake of including bloodshed, horribly plain dialogue, gratuitous nudity from random, busty extras, and pitiful special effects. While most will be pleased with Sherawat's constant state of nakedness, the editing actually tries every trick in the book to hide, obscure or cover her so that she's never seen clearly (suggestive silhouettes at best). Hisss is an embarrassment to horror films, monster movies, the Indians it portrays, and the filmmakers at its helm. It's no wonder director Jennifer Chambers Lynch (daughter of David Lynch) is rumored to have disowned it after the producers took away creative control during editing.
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